Despite a great B-movie premise — a drunken murder-mystery game turns into an actual murder mystery — and the presence of Pete Davidson, ‘Bodies Bodies Bodies’ delivers D-minus results. Our review ⬇️
I love the idea of a drunken murder-mystery game that bends unpredictably into an actual murder mystery, a violent spark that sends an already-paranoid friend group’s collective head spinning. It’s a mischievous premise. It deserves a little mischief on the movie’s part, some B-movie disregard for morality or the rules.is instead wholly at odds with itself. It wants to be a slasher, but it isn’t reckless enough. It wants to be funny, but it only has two jokes, and it repeats them ad nauseum.
By the third time you see a character wander through the dark house with only an iPhone flashlight to guide them — the third time you tense up at the sight of all that negative space in the frame, ripe for jump scares or at least playful little spooks — it becomes clear that nothing is going to happen. Long scenes of characters wandering are just that. They’ve got no rhythm, no vibe, no surprises: They’re just exposition.
Much of the movie plays out this way — heavy, laden, joyless, and oddly forgetful, with errant plot strands and moments of anxiety that make you wonder how far this product is from the original spec script written by Kristen Roupenian . A good deal of the movie’s spiciest ingredients feel like last-minute additions, a pinch here or there, just enough for someone to be able to cut a far more tantalizing trailer than the movie deserves. Those woke Gen Z jokes? Few and far between.
Only Sennott emerges from this confusion with a consistently watchable personality, and that’s because we know the personality: the fun, flaky friend, the lovable nitwit, the vacuous life of the party. That amounts to one joke, at most. The movie overdoes it tenfold, underestimating Sennott’s wider-ranging knack for hijinks to an almost offensive degree. Still, at least it’s a joke — something the movie has fewer of than it seems to realize.
Sennott’s cast mates don’t fare as well, unfortunately. Reijn’s wishy-washy, arrhythmic, humorless direction homes in far too much on redundant, nothingburger details and does way too little with what the actors are trying to give. Herrold, for example, is better when she seems to be up to no good. But the movie has extremely little imagination for what that would look like.
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